IMDb रेटिंग
7.2/10
5.8 हज़ार
आपकी रेटिंग
कामुकता से ओत-प्रोत एक युवती एक छोटे शहर में आती है और स्थानीय मैकेनिक से शादी कर लेती है. क्या यह पहली नजर का प्यार था? उसकी रहस्यमय उपस्थिति को परिवार के पियानो से क्या जोड़ता है? क्या यह ... सभी पढ़ेंकामुकता से ओत-प्रोत एक युवती एक छोटे शहर में आती है और स्थानीय मैकेनिक से शादी कर लेती है. क्या यह पहली नजर का प्यार था? उसकी रहस्यमय उपस्थिति को परिवार के पियानो से क्या जोड़ता है? क्या यह जिज्ञासा है या यह कहीं अधिक भयावह है?कामुकता से ओत-प्रोत एक युवती एक छोटे शहर में आती है और स्थानीय मैकेनिक से शादी कर लेती है. क्या यह पहली नजर का प्यार था? उसकी रहस्यमय उपस्थिति को परिवार के पियानो से क्या जोड़ता है? क्या यह जिज्ञासा है या यह कहीं अधिक भयावह है?
- पुरस्कार
- 5 जीत और कुल 6 नामांकन
फ़ीचर्ड समीक्षाएं
One Deadly Summer is an astonishing French drama whose best quality is quite simple- you don't know what will happen next. As soon as the plot appears to be sorting itself out, something else happens which changes what we are expecting .Also, the film itself changes several times.Initially it seems to be a love story with some strange elements.Then the film appears to be becoming one of those rape/revenge thrillers, such as Angel Of Vengeance, I Spit On Your Grave, than suddenly things change and it becomes more of a very dark family drama, culminating in an emotionally exhausting dialogue scene between the female protagonist and her father. Despite all this the film does not seem disjointed or muddled.
At the film's core is an amazing performance by the brilliant Isabel Adjani, who like Monica Belucci manages something beyond the grasp of most American actresses, that of being incredibly sexy and being a superb actress. Her performance is truly heartfelt, sometimes extremely subtle, and sometimes truly barnstorming, but appropriately so. Director Jean Becker is not afraid to be innovative ,such as having different characters narrate bits of the film, and does a superb job of sequences like a flashback rape scene, which leaves the majority of that happens to the imagination yet still somehow gives some idea of the horror.
There is the odd unexplained aspect ,and the film does seem to be building to action which does not really occur, although the cynical, downbeat ending is really entirely appropriate. Despite all this, there is quite a bit of humour in the film which does not detract at all from it's power. A Hollywood remake would cut out most of the first hour- yes, the pace is slow but the gradual building of tension and detail is nothing short of masterful- and add a happier or at least more 'resolved' ending.In that case,maybe it's a good thing this shattering film is not better known.
At the film's core is an amazing performance by the brilliant Isabel Adjani, who like Monica Belucci manages something beyond the grasp of most American actresses, that of being incredibly sexy and being a superb actress. Her performance is truly heartfelt, sometimes extremely subtle, and sometimes truly barnstorming, but appropriately so. Director Jean Becker is not afraid to be innovative ,such as having different characters narrate bits of the film, and does a superb job of sequences like a flashback rape scene, which leaves the majority of that happens to the imagination yet still somehow gives some idea of the horror.
There is the odd unexplained aspect ,and the film does seem to be building to action which does not really occur, although the cynical, downbeat ending is really entirely appropriate. Despite all this, there is quite a bit of humour in the film which does not detract at all from it's power. A Hollywood remake would cut out most of the first hour- yes, the pace is slow but the gradual building of tension and detail is nothing short of masterful- and add a happier or at least more 'resolved' ending.In that case,maybe it's a good thing this shattering film is not better known.
L'Ete Meurtrier is a very complex, cleverly constructed film, well acted, written and directed. For me, one of the cleverest features is the fact that a number of characters take their turn at narration.
Although Adjani puts in a very good performance, in my opinion the best performance is by Suzanne Flon, who plays the pivotal role of Cognata.
The flashback scenes are not wholly convincing for me - they do not even begin to suggest that the action is taking place twenty years previously.
Perhaps my favourite scene, is the one where Eliane sits outside her father's locked door and cries "tu est mon pere!" - this scene is well acted by Adjani - the viewer can almost feel her anguish.
Overall, an excellent film which can be watched over and over again. In fact, one needs to watch it a few times to appreciate all the twists and turns in the plot.
Although Adjani puts in a very good performance, in my opinion the best performance is by Suzanne Flon, who plays the pivotal role of Cognata.
The flashback scenes are not wholly convincing for me - they do not even begin to suggest that the action is taking place twenty years previously.
Perhaps my favourite scene, is the one where Eliane sits outside her father's locked door and cries "tu est mon pere!" - this scene is well acted by Adjani - the viewer can almost feel her anguish.
Overall, an excellent film which can be watched over and over again. In fact, one needs to watch it a few times to appreciate all the twists and turns in the plot.
The source of this film is a book of Sebastien Japrisot - a thriller author and script-writer who also directed a a few films by himself. After having seen the film directed by Jean Becker in 1983 I start to wonder whether it would not have been better in this case if Japrisot brought to screen his own novel.
The whole film turns around Isabelle Adjani, By the time she made L'ete meurtrier Adjani was already at her 20th film or such and Truffault's 'L'Histoire d'Adele H'., or Polanski's 'Le locataire' were already behind her. Yet, she has in this film the freshness of a debutante and a sex-appeal that equals few films I have seen (Tornatore's 'Malena' with Monica Belucci comes to my mind). Adjani plays here the role of the victim and of the avenger, her beauty, changes of mood, suffering and mistakes make and destroy everything in the story and in the film itself.
Seen through the perspective of almost three decades the story of the young girl seeking revenge for the rape of her mother may seem conventional and melodramatic. It is however very much into the style and approach not only of the classic French cinema but also of the literature - the characters seem to descend to us from the world of an Emile Zola, with their predestination of giving up to passion and with the tendency of making fatal, destinies breaking mistakes for the seek of love.
If there is anything or anybody to blame for this film not really aging well despite Adjani's fabulous performance (seconded by Alan Souchon, an actor who seems to have all but disappeared after having made this film, and I have a hard time understanding why) I think it's the direction and the director. Similar material has created masterpieces if I am to think about films like 'La mariee etait en noir' - Jean Becker seems to have lacked the daring of taking a 'classical' story and using lesser conventional cinematographic means in order to make the story more credible. And yet, the film is worth seeing, even just for the pleasure of seeing Isabelle Adjani at her best.
The whole film turns around Isabelle Adjani, By the time she made L'ete meurtrier Adjani was already at her 20th film or such and Truffault's 'L'Histoire d'Adele H'., or Polanski's 'Le locataire' were already behind her. Yet, she has in this film the freshness of a debutante and a sex-appeal that equals few films I have seen (Tornatore's 'Malena' with Monica Belucci comes to my mind). Adjani plays here the role of the victim and of the avenger, her beauty, changes of mood, suffering and mistakes make and destroy everything in the story and in the film itself.
Seen through the perspective of almost three decades the story of the young girl seeking revenge for the rape of her mother may seem conventional and melodramatic. It is however very much into the style and approach not only of the classic French cinema but also of the literature - the characters seem to descend to us from the world of an Emile Zola, with their predestination of giving up to passion and with the tendency of making fatal, destinies breaking mistakes for the seek of love.
If there is anything or anybody to blame for this film not really aging well despite Adjani's fabulous performance (seconded by Alan Souchon, an actor who seems to have all but disappeared after having made this film, and I have a hard time understanding why) I think it's the direction and the director. Similar material has created masterpieces if I am to think about films like 'La mariee etait en noir' - Jean Becker seems to have lacked the daring of taking a 'classical' story and using lesser conventional cinematographic means in order to make the story more credible. And yet, the film is worth seeing, even just for the pleasure of seeing Isabelle Adjani at her best.
Isabelle Adjani gives a brilliant, instinctive performance (and she also has several showstopping nude scenes, I might add) as an animalistic, untamed young sexpot who seeks vengeance on the three men that raped her mother 20 years ago. In the first few minutes, the film seems a bit confusing and pointless, but gradually reveals itself to be a multi-layered story with quite a few twists along the way. "One Deadly Summer" deserves more attention (but is difficult to find). (***)
"Eliane becomes the talk of the town for her sultry, uninhibited sensuality, and takes a fancy to Pin-Pon with an ulterior motive (the family piano left by Pin-Pon's father plays a key role in ascertaining the identities of those base sex offenders). But underneath her free-spirited, come-hither deportment, the weight of this unspeakable secret often prompts her into paroxysms of mood-swings (punctuated by past memories and harrowing experiences), which act like yellow flags to Pin-Pon of her mental instability. That said, no heterosexual men can possibly resist the allure of a primetime Adjani, soon Eliane moves into Pin-Pon's dwelling, with his widowed mother Madame Montecciari (Clève), his semi-deaf auntie Cognata (Flon, delectably sagacious and breezy) and his two younger brothers, Mickey (a 28-year-old Cluzet, then a fresh-faced dreamboat, acting with great facility) and Boubou (Gélin)."
read the full review on my blog: cinema omnivore, thanks
read the full review on my blog: cinema omnivore, thanks
क्या आपको पता है
- ट्रिवियाIsabelle Adjani originally turned down the part of Elle which Jean Becker then offered to Valérie Kaprisky, who accepted. Later, after reading the book by Sébastien Japrisot (on which the film is based), Adjani changed her mind and took on the role.
- क्रेज़ी क्रेडिटPre credits title card: (in French translation) "I'll be judge, I'll be jury / Said cunning old Fury / I'll try the whole cause and condemn you to death." - Lewis Carroll
- कनेक्शनFeatured in Fan des années 80: 1984 #3 (2012)
- साउंडट्रैकTrois Petites Notes de Musique
Music by Georges Delerue
Lyrics by Henri Colpi
Performed by Yves Montand
टॉप पसंद
रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
- How long is One Deadly Summer?Alexa द्वारा संचालित
विवरण
- चलने की अवधि2 घंटे 13 मिनट
- ध्वनि मिश्रण
- पक्ष अनुपात
- 1.66 : 1
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